friendly reminder that if i have ever befriended you and have not spoken to you in a while it’s nothing you’ve done wrong it’s just because i’m a piece of shit at keeping in contact with people and i still love you okay good
-swooning so hard my heart might explode- 😍😍😍❤️❤️❤️❤️❤️
I overcame something I’ve always been kept back by, and I’m positively glowing! Tonight I made my first solid silver ring, with a soldered joint, and while it’s not even close to being done, I am really proud of myself.
I’m a closet perfectionist, and I have this awful habit of just giving up when I don’t totally nail something the first time I try. That sounds dumb, I know, but it’s like this knee jerk reaction to failure; if I don’t do a great job I should just give up because I suck and that’s that. Tonight, I was really tested by this project; it was my first time soldering and I was intimidated and I spectacularly failed the first and second try, I was very close to just giving into that voice of “well, you’re obviously shit at this, give up now” but this part of me which has been kicking my ass in motivation just triumphed. If I give up, I’m not going to have this thing I want so badly, so I just gritted my teeth & tried again; and it worked! It’s not perfect, but for my first try and my first success in not giving up, I’m immeasurably proud of myself. Don’t let that voice tell you you can’t do what you want to achieve! ❤️❤️❤️🔨💍✨✨✨
Tonight: Attempting riveted prong setting, feat aluminium & volcanic pumice 🔨😎✨
Yaya Deng For Yen Magazine by Renee Carey
What else is new, eh? Don’t fret :) ❤️
Cicada, Stages of Conventionalization
Hugo Froelich, Keramic Studio Magazine, 1905
I rarely smile in photos, but I just can’t help it when I’m around this guy. Happy four years, @baulderchode, you big ol’ handsome stinker 😍😘❤️❤️❤️
Making bismuth (by R. Tanaka)
Yeah okay I get emotional every time I listen to Bruno Mars’ Marry You
Kate MccGwire (previously) born 1964 is an English sculptor who specializes in the medium of feathers. Her work experiments with the binary notions of beauty and disgust, malice and tranquillity, and the familiar yet otherworldly. Her use of pigeon feathers takes a waste product of the ‘rats with wings’ and elevates them to the status of art. By re-framing the object, placing it out of context, it generates a kind of ‘field of attraction’ around it, the viewer is left both seduced and alienated, relishing the spectacle but at the same time aware of something disquieting, something ‘other’.